Category Archives: books

Delany1

Author Samuel R. Delany Named Grand Master Of Science Fiction

By Arturo R. García

Science fiction author, futurist, essayist and literary critic Samuel R. Delany was honored at this past weekend’s Nebula Awards as the 30th writer to be bestowed the title of Grand Master by the Science Fiction and Fantasy Writers of America (SFWA) in celebration of his body of work.

“This award astonishes me, humbles me, and I am honored by it,” Delany was quoted as saying after the honor (formally known as the Damon Knight Memorial Grand Master Award) was formally announced late last year. “It recalls to me — with the awareness of mortality age ushers up — the extraordinary writers who did not live to receive it: Roger Zelazny, Joanna Russ, Thomas M. Disch, Octavia E. Butler — as well, from the generation before me, Katherine MacLean, very much alive. I accept the award for them, too: they are the stellar practitioners without whom my own work, dim enough, would have been still dimmer.”
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Diversity + Publishing: #WeNeedDiverseBooks

Image via WeNeedDiverseBooks.tumblr.com

Each month I receive 10-20 advanced copies of young adult fiction books in all genres (mostly geared towards teen girl readers) per month from various publishers.  I can count on ten fingers the amount of those books that have featured a protagonist of colour. Even fewer of them feature a protagonist of colour also written by a person of colour.

That’s where We Need Diverse Books comes in.

Responding to the call for more diversity in children’s literature and the recent announcement of the all white all male panel at the upcoming BookCon in NYC, the movement’s organisers are urging readers to take over Twitter today. The hashtag #weneeddiversebooks is already in wide use, but the campaign is asking for even more support starting at 1pm EST:

  • Take a photo holding a sign that says “We need diverse books because ___________________________.” Fill in the blank with an important, poignant, funny, and/or personal reason why this campaign is important to you.
  • The photo can be of you or a friend or anyone who wants to support diversity in kids’ lit. It can be a photo of the sign without you if you would prefer not to be in a picture. Be as creative as you want! Pose the sign with your favorite stuffed animal or at your favorite library. Get a bunch of friends to hold a bunch of signs.
  • However you want to do it, we want to share it! There will be a Tumblr at http://weneeddiversebooks.tumblr.com/ that will host all of the photos and messages for the campaign. Please submit your visual component by May 1stto weneeddiversebooks@yahoo.com with the subject line “photo” or submit it right on our Tumblr page here and it will be posted throughout the first day.
  • Starting at 1:00PM (EST) the Tumblr will start posting and it will be your job to reblog, tweet, Facebook, or share wherever you think will help get the word out.

The efforts are set to continue through May 3rd:

On May 2nd, the second part of our campaign will roll out with a Twitter chat scheduled for 2pm (EST) using the same hashtag. Please use #WeNeedDiverseBooks at 2pm on May 2nd and share your thoughts on the issues with diversity in literature and why diversity matters to you.

On May 3rd, 2pm (EST), the third portion of our campaign will begin. There will be a Diversify Your Shelves initiative to encourage people to put their money where their mouth is and buy diverse books and take photos of them.

While the campaign won’t officially start until later today, there’ve already been several great posts flying around the tag. Below are a few of the best, showing several reasons why we really do need diverse books.

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[Thursday Throwback] Ask Racialicious: How to Read and Respond to Literature of Colour

By Deputy Editor Thea Lim

The Racialicious inbox received a very honest email from a writer currently enrolled in a creative writing program, with reference to the book Ms Hempel Chronicles by Sarah Shun-Lien Bynum.  Bynum waits until late in the book to reveal that Ms Hempel is a mixed race person of colour. This raised all sorts of queries for our questioner:

…when I write fiction, I write white characters.  When I read fiction I read them as white characters unless/until I am expressly told otherwise.  This feels like an ignorant move on my part but at the same time, I feel that that’s what I do because I am white, and that people of other ethnicities read fiction as their ethnicity (or perhaps not, since the field is dominated a lot by dead white guys, but that’s another issue), and they write characters as their ethnicity…

Which I suppose eventually comes to this question: am I to assume that a writer of color is writing stories about people of (their) color?  Am I to assume that the black woman in my class is always writing about black people?…[That] the gay writer is writing about the gay experience, or gay relationships? Was I supposed to assume that Shun-Lien Bynum was writing about an Asian character because her name is Asian?… (See how much of an ass I sound like right now?)This feels like a form of discrimination or stereotyping.  Why should I assume that just because a person is black that they’re going to write about black characters?  Do people of other races assume that white writers are always writing about white characters?  Or is that what we’re supposed to do, as writers and as readers?

I’m sure it’s obvious that I’ve been in a sort of bubble with this issue.  In my undergrad, there were only 2 nonwhite students in the creative writing classes I took, and in my MFA program there is only one.  It seems to be an issue that we skirt around in workshop, for fear of offending someone, perhaps…

This questioner had the fortune (or misfortune) of sending this to me: in case you didn’t already know, when I am not crusading on the internet, I too am a graduate student in a creative writing program.  Here are some amended excerpts from the earful and a half I sent back to our questioner:

As for your question: should we assume that all writers of colour are writing for themselves?

All writers have audiences that they are writing for, and it becomes evident who their audience is as soon as they get going. But because much of Great American Lit is written by white writers who are white-centric, much of Great American Lit is written for white folks. So the assumption grows that all audiences and all characters are white – sometimes readers are surprised when they realise all along they have been reading a nonwhite book.

I would say many white writers are not conscious that they are writing for a white audience, just as often in the media the word “everyone” or “regular American” or “the people” means (middle class, hetero, cisgendered, abled) white people. I have to disagree with your (qualified) assertion that generally readers will just assume that the character is of the same ethnicity as them. Rather, many readers of colour are hyperconscious of the fact that a Great Book is not addressed to them; for many of us* learning to appreciate literature requires an extra step that is not there for white readers: we have to learn how to find ourselves in work that may sometimes actively exclude us.
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Werewolf Smackdown

UC Riverside Honors Latino Science Fiction

Friend of the blog Jaymee Goh tipped us off about a special event honoring Latino Science Fiction at the University of California-Riverside on Wednesday.

Held under the auspices of the school’s Science Fiction and Technoculture Studies program, “A Day of Latino Science Fiction” kicks off its program at 10 a.m. with a panel discussion featuring authors:

The program resumes at 2 p.m. with a panel featuring longtime TV director Jesús Treviño (Babylon 5, Star Trek: Voyager & Deep Space Nine) and Michael Sedano from the long-running Latino lit site La Bloga. The event is free to the public, and the flyer is under the cut.
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[Thursday Throwback] Who’s Allowed to Tell the Tale? (And Which Tales Should They Tell?)

by Guest Contributor Belleisa, originally published at PostBourgie

There’s a game I like to play when I walk into a bookstore. Based on the the title, cover and store placement I can always interpret the marketing intention for a book meant for a black American audience. The best part of this game is that the books will, typically, fit into the following categories (they are, in no particular order):

1. Black Pathology or “What’s wrong with Black people?”
2. The literature of “sistah gurl”
3. Christian-oriented fiction/inspirational
4. Street-Lit or Hip-Hop fiction
5. The Slave Novel
6. The Civil Rights Book (This also includes Black Nationalism)
7. The extraordinary rise from street life/poverty/welfare into the middle class.
8. Poorly styled celebrity memoir, or well researched and documented hagiography
9. Black Queens and Kings
10. Hip-Hop analysis
11. AFRICA
12. The “Black” version of some mainstream topic (For example: “Black Girl’s Guide to Fashion; “Black Families’ Guide to Wealth;”) Guides will include slang, bright colors, and inevitably the phrase “the legacy of slavery.”
13. The Classics: Harlem Renaissance 101 and/or The Black Arts Movement. Toni Morrison.
14. Contemporary Classics or Literary Fiction (Mostly woman, mostly diaspora authors)
15. Non-black author writes really compelling story about black person(s); story gets awards accolades, lots of press and movie deal.

These topics produce wonderful books and poorly written books. They often represent a compendium of the black American experience, and just as often, they are simply a reflection of what publishing thinks black people read.

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CHIMAMANDA ADICHIE AND SINGLE STORIES [Throwback Thursdays]

[Originally posted on October 28, 2009]

By Deputy Editor Thea Lim

A writer friend of mine working on a novel about his Indian experience has lamented to me about a particular response he keeps getting to his work in progress. His non-Asian peers tell him that he can’t write his particular story, because it’s already been told by say, Rohinton Mistry, or Arundhati Roy.

I also get hopping mad when I hear about this. What about the 5 gazillion stories of middle class white family struggle that dominate libraries and schools across this country?

Centers of power who feel political pressure to include the Other in their ranks rarely make room for more than one Other. TV shows like 30 Rock and the Daily Show don’t have room for more than one or two black characters (and they are all men.) Once a publishing press has released one book by a Latin@, they won’t release another one – they’ve already done the Latin thing. And often this kind of dynamic sets up vicious competition between members of marginalised groups vying for the single position allotted to their entire demographic – and people who should be allies become opponents.

Because of all this, I love this talk by novelist Chimamanda Adichie. Adichie talks about the real consequences of only allowing one voice to represent thousands, and makes a very beautiful argument on how the single story impoverishes our lives.

Diverse Reads: The 2013 Brooklyn Book Festival

The Brooklyn Book Festival runs from September 16th-22nd, but the main stage of events takes place on the festival’s final day, September 22nd. There are over 40 panels open to the public and featuring a diverse group of book authors, columnists, and other writers speaking on a wide variety of subjects. Check out beneath the cuts for a selection of recommended panels featuring Saphire, Anthea Butler, Sonia Sanchez, James McBride, Toure, and many, many others. If you’re in the area next weekend this is an event I highly suggest stopping by, and if nothing on our list stirs your fancy you can see the full schedule here.

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Book Review: Buck by M.K. Asante

By Guest Contributor Erica “RivaFlowz” Buddington, reposted from RivaFlowz.com
My mother walked into my dorm room, my sophomore year, with an armful of books. I snickered at her trying to pull all the goodies she’d brought from New York to Virginia, into the small space that already exuded bibliophile. My mother always picked the same stuff up for me: compiled quotes from prominent and life-changing authors, love stories, and anything Toni Morrison. I’d begun to assess the texts and I gave them the typical nod, when one jumped out at me. It was an orange and black cover, unique amongst the rest and it boasted the title “It’s Bigger Than Hip-Hop.” My mom smiled at my piqued interest.
“I saw that one in the clearance aisle and I know you’re big on the history of it, so I thought you’d like it.” I smiled back at her, but didn’t show too much excitement. I was at the age where I wanted to show my mother that nothing she did could thrill me and I was an independent woman who encountered excitement on her own accord. I was a silly girl.
The book sat on my shelf, next to the other books I’d purchased on hip-hop. M.K. Asante, I thought? Who is that? It sat on my shelf for several weeks, unread, until I knocked it over, in a hurry, to grab my book bag. My OCD prodded me to put it back in formation, but instead I decided to throw it into my bag, knowing that finals week would spawn gaps of boredom, because I was all studied up.
I opened Asante’s It’s Bigger Than Hip-Hop for the first time, while waiting for my SUV to be repaired. I sat in the waiting room annoyed that the “small fix” had taken three hours more than they’d estimated. However, my patience, usually worn thin easily, was in tact. I was knee deep in a text that spoke to me and analyzed a culture and genre in a way that only lyricism allowed me to.
They can call M.K. what they’d like: a memoirist, filmmaker, historian and more. However, M.K. is and will always be a poet. His last work and his new memoir Buck is lyricism at its finest, in its purest and rawest form.
Buck is  M.K.’s memoir; it takes place growing up in Philly, a symphony with strums of two parents with different ideologies, the camaraderie and heartbreak of brotherhood, and the loss of friendship and love.
Two authors masterfully tell the story; M.K. uses entries from his mother’s journal and his own voice to relay the struggle of his youth. Through Carole, his mother, and M.K.’s words we’re transported to the anarchy of a teenager whose sorrow is exerted through “grown-man” antics and the mimicry of the lyricists he was so fond of.
M.K. pulls us through the memories of his teen-hood with stories that any inner-city kid could relate to and others that can only clench our hearts, in understanding. His tête-à-tête, interview-script style, reminiscent of the one with Hip-Hop in his last work, with his parents is reminiscent of the tales our parents relay to us when we haven’t been on our best behavior. A brotherly bond is unraveled in the symbolism and foreshadowing of nun chucks and brass knuckles, emcees, and older sibling philosophy. A bit of innocence and morality of a fledgling is sustained through a first love that only wants the best for a young M.K. and the refusal to indulge in all detriments of his vices.
This bit of goodness is what keeps M.K. alive. Along his path we encounter kings, queens, and prophecies that save M.K.’s life little by little, consciously and unconsciously. There is an alternative school teacher who shows him the power of the pen. There is a moment under a city bridge where M.K.’s life is saved by the remnants of his fallen loved one. There is the trip to the south, where a family member, who could pick up the angst of his aura, spouts a comparison of wolves and hunger, which will stick to every decision you make from the day after reading it.
M.K. finds his way to a thriving and traveling conscience that is the definition of transformation: a literary cacophony that can only be given justice, by being read.
Buck reads like urban fiction with conscious and purpose. It is the voice of every young black man, in America, who cries out for the world around him to notice. It’s the eyes of all the young men who sit inside of my classroom and wonder what’s next.
A few years ago I met Asante, after he spoke at the Schomburg. After the reading and the signing of our books, a few of my friends and I were given the opportunity to have lunch with him. Asante spoiled us with synopses of what he was working on and conversation that could have only been cultivated by a man who’d devoured the world hungrily. I stood in awe at our comrade, who was only 27 at the time, and I wondered how someone so young could’ve gained so much, so quickly.
Now I am certain that I know.
In New York City, we have a tendency to tell our children to relax. Often caught “getting buck” in the streets, we are prompted to quiet their notions of propelling their anger to all the wrong places.
But I’ve got this great idea…
Put M.K.’s new book in the hands of those boys who haven’t found the right way to declare their rage. Let their fingers flip through the pages that will turn to mirrors, as some of them recognize themselves within M.K.’s words. Let those words seep in and contextualize that hurt. Let them learn, line by line. Let’s give the next generation a completely different way to “get buck.”
Erica “RivaFlowz” Buddington is a teacher and professional writer living in New York City. You can follow her on Twitter @rivaflowz.